English Test 1

Front 1

Anu

Back 1

father of gods; God of the firmament, the patron god of Uruk, husband of Antun, and father of Ishtar.

Front 2

Anunnaki

Back 2

Gods of the underworld or the seven judges of the dead. Offspring of Anu. Their sacred dwellings are in the Forest of Cedars guarded by Humbaba. They also appear in Utnapishtim’s account of the great flood as forerunners of the storm.

Front 3

Ea

Back 3

was the god of wisdom, whose particular element was the sweet waters bringing life to the land and whose house was at Eridu, which was then on the Persian Gulf. He breaks rank with the council of the gods and warns Utnapishtim of the impending flood.

Front 4

Ereshkigal

Back 4

The queen of the underworld, who appears in Enkidu’s dream of the afterlife; wife of Nergal.

Front 5

Enlil

Back 5

God of earth, wind, and the universal air, ultimately spirit. He was the patron of the city of Nippur, and was the storm and wind, breath and “the word” of Anu. In the Gilgamesh epic, he appears most often in his destructive aspect; and beside him Anu is a remote being who lives far away in the firmament, beyond the gate of heaven.

Front 6

Ishtar

Back 6

was worshipped in the great temple in Uruk, together with Anu. She is the queen of heaven, and as goddess of love and war an equivocal character, like Aphrodite. She is fickle and at times spiteful.

Front 7

Ninsun

Back 7

mother of Gilgamesh; wife of Lugulbanda; minor goddess whose house was in Uruk and who was known for wisdom

Front 8

Siduri

Back 8

Goddess of the vine who lives on the shore of the sea (perhaps the Mediterranean) in the garden of the sun

Front 9

Enkidu

Back 9

Gilgamesh’s “second self” and faithful companion. Arruru fashions Enkidu out of clay in the image of Anu. Enkidu is a “wild,” primitive, or uncivilized man who has both the hardened physique and virtue of Ninurta, the god of war; the long hair of Ninursa, goddess of corn; and the hairy body of Samuquan, god of cattle. Enkidu runs freely with the animals and lives in the wilderness until he meets a Trapper, whose snares Enkidu has destroyed, at a well.

Front 10

Humbaba

Back 10

A fearsome monster who is guardian of the cedar forest and who opposes Gilgamesh. In a fierce battle, Gilgamesh and Enkidu ultimately kill Humbaba and cut down the sacred cedars.

Front 11

Urshanabi

Back 11

Boatman who takes Gilgamesh over the waters of death, which divide the garden of the sun from the paradise where Utnapishtim lives forever. Utnapishtim curses Ushanabi for bringing a mortal to him across the sea of death. After Urshanabi helps Gilgamesh back to health and vigor, he returns to Uruk with Gilgamesh.

Front 12

Utnapishtim

Back 12

In the Sumerian poems, he is a wise king and priest. Favored by the god Ea, he is warned of Enlil’s plan to destroy humanity through a flood. At Ea’s command, he builds a huge square boat and rides out the seven-day storm. When the crisis is over, he offers a sacrifice to the gods. In restitution for his thoughtless punishment of humanity, Enlil blesses Utnapishtim and his wife, grants them immortality, and places them “in the distance at the mouth of the rivers.” He becomes the object of Gilgamesh’s final quest as he seeks the secret of eternal life.

Front 13

Annular Structure

Back 13

“Ring-like”; the end of the epic refers the reader back to the beginning by repeating key images and speeches.

Front 14

Heroic Code

Back 14

Ancient ideal of excellence to which all aristocratic male members of the society imitated; involves courage, heroism in battle, complete loyalty, wisdom, and strength; the true warrior dies with his comrades in battle.

Front 15

Homosocial Bond

Back 15

Intense personal bonds between men; the kind of behavior, social codes, and activities that unite groups of men together; a brother-like companionship that is part of the Heroic Code of the ancient world that often arises in the context of athletic competition, warfare, or survival.

Front 16

Lament

Back 16

Formal poem of praise or song of grief; often serves to summarize or rehearse the characters’ attitudes or the action.

Front 17

Repetition

Back 17

Literary device used by writers to emphasize and add meaning and insight into themes, motifs, concepts, characters, or events within the text.

Front 18

Aidos

Back 18

a counterpart to kudos,the quest for individual glory; the sense of responsibility to others that constitutes a kind of morality or ethics, which balances out the search for personal glory. These other-directed, social obligations are reinforced by the gods and include the following:
Respect and courtesy to elders
Kindness to inferiors
Help to comrades in battle
Humane treatment of fallen foes
Respect for suppliants
Hospitality to guests, friends, and respected visitors
Righteous use of property

Front 19

Amplification

Back 19

Rhetorical device used to emphasize, intensify, enlarge, or augment something by elaborating with additional details. An example is Homer’s lengthy and detailed description of Achilles’ shield in Book 18 of The Iliad.

Front 20

Ate

Back 20

A Greek word for “ruin” or “folly”; it is a clouding of the mind,resulting from hubris or excessive pride, that leads to an action toward the downfall or death of the hero

Front 21

Cassandra Figure

Back 21

daughter of King Priam and Hecuba, and Apollo’s virgin prophet; she is given the gift of prophecy by Apollo but is also cursed with never being believed. She becomes a literary character type of the unheeded prophet who can foresee future events but who cannot alter the events

Front 22

common devices

Back 22

employed by most epic poets:
Statement of the theme
Invocation of the muse
In medias res—in the middle of things—giving necessary exposition later
Catalogues (or listing) of warriors, ships, armies
Extended formal speeches by the main characters
Epic simile: an elaborated comparison using like or as; usually between 2-14 lines

Front 23

epic

Back 23

A long narrative poem in elevated style presenting characters of high position in adventures forming an organic whole through their relation to a central heroic figure and through their development of episodes important to the history of a nation or race. Characteristics of most epics:
The hero is a figure of great national or even cosmic importance
The setting of the poem is ample or vast in scale and may be worldwide or even larger
The action involves superhuman deeds in battle
In these great actions the gods and other supernatural beings take an interest or even an active part
An epic poem is a ceremonial performance and is narrated in a ceremonial style which is deliberately distanced from ordinary speech and proportioned to the grandeur and formality of the heroic subject and epic architecture

Front 24

Fate

Back 24

Human destiny. For example, Human destiny. For example, Homer’s epics portray a world in which humans are free to choose among complex possibilities. Gods do not dictate human destiny; instead, humans determine their own fate, the inevitable consequences of their freely chosen acts.

Front 25

Hubris

Back 25

Overweening pride or insolence that results in the misfortune of the protagonist; leads the protagonist to do one of the following:
Break a moral law
Attempt vainly to transcend normal limitations
Ignore a divine warning with calamitous results

Front 26

Kudos

Back 26

Individual glory; the acquisition of honor and fame through conquest, victory in battle, and plunder. It is the principal drive of the ancient heroic mentality; through heroic deeds of daring and bravery, physical prowess and martial courage, a man may earn enduring fame, a kind of immortality. Personal dignity through heroism is based on an acute consciousness of the brevity of life, which demands heroic gestures to assure individual attention.

Front 27

Achilles

Back 27

hero of the Iliad; son of Peleus and the sea goddess Thetis; leader of the Myrmidons; withdraws from battle out of pride as a result of the quarrel with Agamemnon, but after the death of his friend Patroclus, returns and slays Hector

Front 28

Sinon

Back 28

a Greek spy who persuades the Trojans to take the Wooden Horse into their city

Front 29

Aeneas

Back 29

son of Venus and Anchises, a mortal Trojan prince; the hero of the Aeneid. After Troy’s fall, he journeys to Italy, where he founds a dynasty that eventually produces Romulus and Remus, the legendary founders of Rome

Front 30

Creusa

Back 30

In the Aeneid, daughter of Priam, first wife of Aeneas and mother of Ascanius (Iulus); she is killed in the fall of Troy. (In Medea, she is the daughter of Corinth’s king, Jason’s intended bride.)

Front 31

Hector

Back 31

son of Priam and Hecuba; husband of Andromache; father of Astyanax; leading Trojan hero; slays Achilles’ friend Patroclus and is killed in revenge by Achilles

Front 32

Polydamas

Back 32

trusted comrade and seer of the Trojan army

Front 33

Priam

Back 33

King of Troy, husband of Hecuba, father of Hector, Paris, Cassandra, and (by various concubines) fifty sons

Front 34

Dido

Back 34

Queen and founder of Carthage who befriends the shipwrecked Aeneas and is later deserted by him at Jupiter’s command

Front 35

Apollo

Back 35

also called Phoebus, the radiant god of light, music, prophecy, and the arts. His most famous shrine was at Delphi, where his priestess, the Pythia, proclaimed the divine will

Front 36

Jupiter

Back 36

Roman equivalent of Zeus, king of the Olympian gods; the cosmic guarantor of justice, oath- keeping, civic order, and kingship

Front 37

Juno

Back 37

Roman name for Hera, queen of the gods; goddess of marriage and domesticity; symbol of ill-fortune

Front 38

Penates

Back 38

Hearthgods
Ceres: Roman equivalent of Demeter, goddess of grain and earth’s fertility, who guarantees the growth of crops
Lares: In Roman religion, the deified spirits of family ancestors
Vesta: Roman name for Hestia, goddess of the hearth, the cooking fire. In Rome, the Vestal Virgins were charged with the sacred duty of keeping alight the Eternal Flame signifying the Roman state

Front 39

Venus

Back 39

the Roman Aphrodite, the goddess of love and beauty; Italian goddess of gardens and flowers; mother of Aeneas

Front 40

Vulcan

Back 40

the Roman name for Hephaestus, god of fire and the forge

Front 41

Sin

Back 41

The moon god to whom Gilgamesh prays as he passes through dark mountain passes populated by lions on his way to Mashu.

Front 42

Shamash

Back 42

whom the Sumerians called Utu, is the kindly and just sun god, law-giver, and judge who is evoked in blessing and protection throughout the epic.

Front 43

Odysseus

Back 43

known as Ulysses in the Aeneid; son of Laertes and Anticleia, husband of Penelope, father of Telemachus, King of Ithaca, and favorite of Athene, he is celebrated for his prudence, ingenuity, and resourcefulness among the Greek forces at Troy, the fall of which he engineers. Hero of the Odyssey, he demonstrates an endurance and adaptability that determines his successful return to Ithaca

Front 44

Anachronism

Back 44

Assignment of something to a time when it was not in existence; out of time, out of place.

Front 45

Apostrophe

Back 45

When a speaker turns to directly address an absent person, object, or abstract quality as though present; from the Greek verb apostrephein, meaning “to turn away”.

Front 46

Appropiate

Back 46

To both adopt and alter a pattern or style. For example, the Romans admired and borrowed from Greek mythology, adding to it the founding of Rome. They appropriated Greek stories to fit their own concepts and values in four major ways:
REFOCUSING myth by changing Greek names to Roman and by having the Roman gods reflect practical concerns of the Roman state and the Roman attitude toward war
HISTORICIZING myth: Intensely proud of their own history, the Romans were precise and insistent about tying myths to real names, dates, places, and events.
POLITICIZING myth: In Roman myth exists a direct connection between private worship and public rites. Specifically, the three domestic gods that Romans typically worshipped in their homes—Lares, Penates, Vesta—had their counterparts in the state gods Jupiter, Juno, and Ceres, who performed the same protective functions for the nation as the domestic gods did for the home.
REINTERPRETING myth to reflect a patriarchal and teleological (linear) universe that was di

Front 47

Revisionist history

Back 47

View of Virgil’s Aeneid as linking the characters of the epic with individual events and persons in Roman history by having reliable characters, such as Jupiter, Anchises, and Dido, narrate the history of Rome, giving dates even to mythological events.

Front 48

Ganymede

Back 48

Handsome Trojan shepherd boy abducted by Zeus, who assumed the shape of an eagle, and carried off to heaven to serve as cupbearer to the gods.

Front 49

Qualities of a Roman Hero

Back 49

Gravitas-- Seriousness of purpose and devotion to duty

Pietas-- Devotion to the gods of Rome

Frugalitas-- Idealizing of the simple life, free from distractions of vanity and self-indulgence

Front 50

Personification

Back 50

To endow animals, ideas, abstractions, and inanimate objects with human characteristics, form, personalities, intelligence, and emotions; from the Greek word prosopopeia, or “to make a dramatic character”.

Front 51

Gravitas

Back 51

Seriousness of purpose and devotion to duty.

Front 52

Pietas

Back 52

devotion to the gods of Rome

Front 53

Frugalitas

Back 53

Idealizing of the simple life, free from distractions of vanity and self-indulgence

Front 54

Daiva

Back 54

Ancient Indian word for providence or divine will; the collective will of the gods as opposed to the will of the individual.

Front 55

Dharma

Back 55

In traditional Hindu thought, it is the guiding principle of proper human conduct, the prescribed program of sacred duty; is the basis for the social and moral order of the world; literally means “that which holds” or the force that supports the universe.

Front 56

Vedas

Back 56

Hinduism’s primary scripture that consists of four books of sacred hymns that accompany the worship of gods; the Vedas were brought by the Aryans who came to India around 1500 B. C. and were preserved in an unbroken oral tradition of memorization and recitation; they are regarded as divine revelation as recited by poet-seers called "rsi."

Front 57

Itihasa

Back 57

Indian classification of a historical narrative, such as "The Ramayana

Front 58

Rsi

Back 58

Indian poet-seer, such as Valmiki.

Front 59

Karma

Back 59

In Hinduism and Buddhism, it is the force generated by a person’s actions to perpetuate the endless cycle of birth and death and to determine the nature of a person’s next existence; karma holds that all deeds—good and bad—have inevitable results that each person must bear.
Laksmana

Front 60

Lanka

Back 60

Ravana's Island
Indra

Front 61

Brahma

Back 61

Of the triad of Hindu Gods, is the creator of the universe

Front 62

Sagara

Back 62

Deity of the ocean; ancestor to Rama

Front 63

Brahma

Back 63

Of the triad of Hindu Gods, is the creator of the universe

Front 64

Siva

Back 64

Of the triad of Hindu Gods, the destroyer

Front 65

Visnu

Back 65

Of the triad of Hindu Gods, is the preserver of dharma; incarnates himself and is born as Rama

Front 66

Dynasty when chinese writing first developed

Back 66

Shang Dynasty (1750-1020)

Front 67

Texts of Confucius

Back 67

-Book of Documents
-Book of Changes
-Classic of Poetry

Front 68

Spring and Autumn Annals Period

Back 68

Home of Confucius and the Analects

Front 69

Analects

Back 69

-Fusion of ethics and idealized Chou traditions
-Teacher of traditional learning, whose disciples preserved and institutionalized Chou traditions that lasted until the Han Dynasty
-Consists of 20 books of chapters randomly put together.
-Unity of the collection resides in a person, Confucius, rather than in an argument or unified philosophy.
-Terse saying of Con. respond to people and situations.

Front 70

Confucianism

Back 70

-Political and Social philosophy
-Moral order of nature
-Philosophy of relations b/w human beings

Front 71

The Genre of Maxim

Back 71

-general truth about behavior
-written to spotlight the way to live, ideals to pursue, actions and attitudes to avoid.

Front 72

Key Confucian Ideas

Back 72

Humanity
Gentleman
Ritual

Front 73

Virtue

Back 73

-highest ideal for moral behavior
-the most important quality to have
-respect
-truthfulness
-generosity
-love

Front 74

Gentleman

Back 74

-person committed to ethical life
-moral more important than social status

Front 75

Ritual

Back 75

-Proper conduct
-manners to religious observations
-sense of order and respect in society

Front 76

4 spheres that should govern life

Back 76

-dharma=sacred duty, moral law, righteousness
-artha=sphere of wordly profit, wealth, and political power,
-Kama: Pleasure and Love
-Moksa: Sphere in which on seeks liberation from the constraints of Worldly existence

Front 77

Charon

Back 77

ferryman of the underworld

Front 78

Dis

Back 78

God of the underworld in the Aeneid

Front 79

Sybil

Back 79

Aeneas' guide through the underworld

Front 80

Aphorism

Back 80

Pointed, witty maxim
Clever yet simple structure